Residential College Courses

Most RC courses are open to LS&A students and may be used
to meet distribution requirements.

RESIDENTIAL COLLEGE WAIT LIST PROCEDURES

Residential College students are given priority in all Residential
College courses during the pre-registration and registration periods, and from wait lists. RC courses which fulfill specific Residential
College graduation requirement are reserved for RC students only (e.g., RC language courses).

Wait lists of Residential College courses are maintained in the Residential College Counseling Office, 134 Tyler, East Quad.
When a course fills, students should contact the RC Counseling
Office (747-4359) to be placed on a wait list if one is being
maintained.

Core (Division 863)

Written and Verbal Expression

105. Logic and Language. (4). (N.Excl).

Argument is the focus of this course, both in symbols and in
language. We deal with the forms of arguments, the application
of them, what makes them valid or invalid, weak or strong. We
do this in two concurrent ways: (a) Microcosmically, we examine the structure of arguments, what makes them tick. In the deductive
sphere we deal with the relations of truth and validity to develop the logic of propositions, and enter the logic of quantification.
In the inductive sphere, we deal with argument of analogy, and causal analysis, and with elementary probability theory. (b) Macrocosmically, we do the analysis of real arguments in controversial contexts, as they are presented in classical and contemporary philosophical
writing: ethical arguments (in Plato); political arguments (in
J.S. Mill); and legal arguments as they appear in Supreme Court
decisions. In all cases both substance and form are grist for
our mill. (C. Cohen)

334. Special Topics. (4). (Excl).
Section 001 – Biblical, Greek and Medieval Texts: Original Works
and Modern Counterparts. In this course we shall study foundational
texts from the Greek, Old Testament, New Testament, and Medieval
worlds and a number of modern works – books, essays, and films – that employ the themes and situations originally
set forth in these classical works. First, we shall examine literature
central to the world view of four cultures that have helped shape
and continue to inform modern Western consciousness and art. Our
focus will be on questions and perspectives concerning the individual's
to the divine order, to earthly society, and to the private self that are embodied in such works as (I) Greek literature: Homer (The Iliad and The Odyssey); Sophocles (Oedipus, Antigone); Euripedes (Medea), Plato (Socratic
dialogues); (II) Old Testament (Genesis, Job); (III):
The New Testament (The Gospels of St. Matthew and St.
John); (IV): Medieval literature: Dante's The Inferno,
Gottfried's Tristan. In conjunction with these works, we will examine, where feasible, modern counterparts (or adaptations
or recreations) of the classic stories or conflicts found in these
classical texts. We will read essays and novels, and see films
which deal with the same or similar-and perennial-ideas and conflicts.
(We will also examine those values and experiences expressed in the original works that seem alien to modern consciousness.) Some
of the modern works we will scrutinize are Polanski's Chinatown,
Max Frisch's Homo Faber, Martin Luther King's Letter
from Birmingham Jail, Martin Scorsese's The Last Temptation
of Christ, Ingmar Bergman's The Seventh Seal. The
chief merit of our approach, besides giving the student the opportunity
to read and see important and exciting stories, is in the juxtaposing
of the old and the new so as to make the student more appreciative
of the rootedness in the past of many of our current ideas, problems, and situations. There will be two papers and a midterm and final
exam. On occasion, there will be evening meetings to view films.
(H. Cohen/F. Peters)

Foreign Language

INTENSIVE LANGUAGE COURSES

Intensive language courses meet in lecture and discussion twice
a day four days a week (five days per week for Russian). The language
programs have language lunch tables, coffee hours, and other social
events. There is a language laboratory in the College, and the
language teachers are available for counseling and additional
help. If a student begins a new language, proficiency is usually
attained in one year through the Residential College program.

Core 190, 191, 193, 194 Intensive French, German, Russian, Spanish I. The goal of this course is to provide the
student with a basic but solid knowledge of grammatical structures
and syntax, a functional vocabulary, familiarity with intonation
patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course, the student can understand simple written texts or short spoken passages without the aid
of a dictionary, and can carry on a short, elementary conversation.

Core 290, 291, 294 Intensive French, German, Spanish
II. The goal of this course is to expand vocabulary and to master grammatical structures and syntax to the level of competency
required to pass a proficiency exam. This entails developing the
ability to communicate with some ease with a native speaker, in
spoken and written language. Students must be able to understand the content of texts and lectures of a non-technical nature, and of general (non-literary) interest.

193/Russian 103. Intensive First-Year Russian. No
credit granted to those who have completed or are enrolled in
Russian 101, 102, 111, or 112. (8). (LR).

Arts (Division 864)

267. Introduction to Holography. (4).
(Excl).

An introductory art studio class in basic holography which
stresses the visual characteristics of the medium through hands-on
production of holograms. The class will cover the technical skills
involved in making simple reflection and transmission holograms
and the inherent visual problems presented by this new imaging
medium. It is essentially a lab oriented class with image production
being the students' major responsibility. (Hannum)

269. Elements of Design. (4). (Excl).
Materials fee ($30).

This course provides non-art majors with the opportunity to
practice, as well as study, visual skills. It attempts to give
students a broad experience through (1) exposure to art history, anthropology and art, and the psychology of visual perception, presented in slide lectures; (2) technical mastery of a range
of media; (3) development of creative and technical skills; and (4) critical assessment of works of art during class discussions
and critiques. During the first part of the course students acquire
a visual vocabulary by working with the basic elements of design, including line, shape, tone, texture, perspective, balance, and color. Students complete projects dealing with these visual elements.
During the final part of the course students apply their new visual
skills to longer, more complex projects. Students are evaluated
individually on their progress and the quality of their projects.
Class critiques are frequent, and attendance is mandatory. (Savageau)

285. Photography. (4). (Excl). Materials
fee ($50).

An introduction to the medium of photography from the perspective
of the artist. It includes an overview of photography's role in the arts, the development of an understanding of visual literacy
and self-expression as they relate to the photographic medium
and the development of basic technical skills in black and white
and color photography. A visual emphasis is maintained in both
presentation and course work, and the students work with the medium
towards a goal of personal expression. (Hannum)

288. Introduction to Drawing. (4). (Excl).

This course will explore traditional and contemporary approaches
to drawing. Emphasis will be on the eye (seeing) and the hand (doing). Basic techniques and methods will be covered including
work with still-life, the figure and the imagination. Class attendance
is mandatory as well as course work outside the
scheduled class time. (Cressman)

289. Ceramics. (4). (Excl). Materials
fee ($75).

This course presents basic problems in forming clay, throwing
and handbuilding techniques, testing, preparing and applying glazes, stacking and firing kilns, and operating a ceramics studio. Students
are required to learn the complete ceramics process, and the assumption
of studio responsibilities and regular class attendance are mandatory.
The theory, practice, and history of ceramics are integral parts
of this study and are used to encourage individual sensitivity
to the material. (Crowell)

348. Performance, Conceptial and Public Art: Tradition
and Innovations. Two art courses. (4).

Students will explore work that has been done in performance, Conceptual and Public Art through lectures, discussions, field
trips, critiques and slide presentations. Lecture and discussions
will be used to assist the student in understanding the historical
context for their class projects, while also indicating the kind
of work their projects would loosely emulate. Quizzes will follow
each unit to ascertain how well the historical material is understood
and how students view their own work within an art historical
context. These activities will provide a theoretical, practical
and critical foundation for understanding and evaluating the art
forms and for student projects done in the respective genres.
The goals of the course are fourfold: to scrutinize the creative
strategies used in public, conceptual and performance art by past
artists; to enhance students' imagination and creativity by presenting
historical precedents in these art forms; to examine through a
series of class projects how these art forms can contribute to
communities; and to become familiar with the activities and discourse
of current artists in these genres. The lectures/discussions are
designed to present new ideas to supplement information learned
from assigned readings to assist students in the formation of their projects. We will begin by looking at how the artist Group
Material challenges established cultural institutions and moves
toward an egalitarian view of art. We will also look at a cross
section of early and mid-twentieth century artists like Marcel
Duchamp, and John Cage, whose philosophies influenced later artists
such as Chris Burden, Douglas Huebler, and Hans Haacke. We will then move towards examining Michael Asher and Allan Kaprow, whose
art works integrate familiar elements of everyday life. Discussion
periods will be an opportunity to air ideas, ask questions or
work out project problems. The student projects will represent the culmination of the students' understanding of past artists'
creative strategies and the integrating of this understanding
with the students' own creativity in a way that benefits the community.
(Alexander)

Humanities (Division
865)

Arts and Ideas

236/Film Video 236. The
Art of the Film. (4). (HU).

The Art of the Film examines the dramatic and psychological
effects of the elements and techniques used in film making and television, and some of the salient developments in film's artistic
and technological history. This course provides students with the basic tools and methods for film appreciation and study. Students
write five two-page exercises, a ten-page analysis of a current
movie, and a final exam. A lab fee of $45.00 is assessed to pay
for the film rentals. (H. Cohen)

260/Dance 220. The Art of Dance: An Introduction to
American and European Dance History, Aesthetics, and Criticism.
(3). (HU).

This course is an introduction to the study of dance history, aesthetics and criticism. What is dance? How can we analyze it
in terms of form and content? What is the role of the dancer and choreographer? How can we distinguish different styles of dance?
What role does it play in the society which produces it? These
questions will be addressed in relation to a basic survey of American
and European dance concentrating primarily on nineteenth and twentieth
century dance forms. Among the topics considered: French Romantic
ballet, Russian classical ballet at the turn of the century, Diaghilev's Ballets Russes and the development of classical dance
in Europe and America, modern and postmodern dance in Europe and America, and dance in film. Choreographers and dancers considered
will include Coralli and Perrot, Marius Petipa, Mikhail Fokine, Vaslav Nijinsky, Bronislava Nijinska, George Balanchine, Frederick
Ashton, Isadora Duncan, Martha Graham, Doris Humphrey, Katherine
Dunham, Merce Cunningham, Fred Astaire, Bill Robinson, John Bubbles, Gene Kelly, Bob Fosse, Paul Taylor, Twyla Tharp, Mark Morris, and Michael Jackson. There will be viewing assignments of videotapes
of the dances studied and written texts will include Selma Jeanne
Cohen's Dance as a Theatre Art, Deborah Jowitt's Time
and the Dancing Image and Susan Au's Dance and Ballet.
We will also read some dance critics and theorists including Gautier, Levinson, Martin, and Croce. (Genné )

291. The Experience of Arts and Ideas in the Nineteenth
Century. (4). (HU).

The nineteenth century saw revolutionary changes in all of the arts – painting, music, dance, and literature – which paralleled
and reflected equally revolutionary changes in society. This interdisciplinary
course will examine some of these changes and offer an introduction
to major movements in European art and cultural history of the
nineteenth century – Romanticism, Realism, Impressionism and Symbolism
- by analyzing and comparing representative works of literature, dance, music and the visual arts. Among possible works studied
will be paintings by Delacroix, Courbet, Manet, Degas, Monet, and Van Gogh; novels by Zola and Flaubert; music of Berlioz and Debussy, and ballets of Perrot and Bournonville. The class will
explore some of the following kinds of issues. How do Coralli
and Perrot's ballet Giselle and the Symphonie Fantastique
of Berlioz reflect the ideals of Romanticism? Can we find similar
aims in certain realist novels of Zola and the realist painting
of Courbet and Manet? Can we compare the revolution in the structure
and subject matter of painting brought about by the Impressionist
and Symbolist painters to the revolution in form brought to music
by Debussy? What can we learn about the evolving view of women's
place in society by comparing the portrayal of women in paintings
by Berthe Morisot and Edouard Manet and the portrayal of women
in literature by Ibsen and Edith Wharton? These and other questions
will be considered by Beth Genné and class. No prerequisites
except an enthusiasm for the subject. Specific works to be considered this term will include the novels Wuthering Heights, Madame
Bovary, Therese Raquin, and The House of Mirth; the ballets Giselle, La Sylphide, and Swan Lake;
Paintings by Manet and Degas of city life in Paris; landscapes
and seascapes by Monet; paintings of women by Berthe Morisot and Manet; Van Gogh's paintings from Arles and Saint Rémy;
Courbet's paintings of rural life; Bizet's opera Carmen;
Berlioz' Symphonie Fantastique; Debussy's La Mer;
Baudelaire's art criticism, and Ibsen's play A Doll's House.
(Genné )

311. Intellectual Currents
of the Renaissance. Sophomore standing or permission
of instructor. (4). (HU).
Section 001 – Rabelais. This course will be devoted to a
close reading and analysis of the five books of Rabelais, called Gargantua and Pantagruel. In our analysis, we will address
problems of narrative structure ("story" and "discourse"), narrative space (symbolic versus illusionistic), and the myths
of authorship, originality, and literary genealogy that are both
embodied in and problematized by this work. We will also explore
Ancient, Medieval, and Renaissance constructions of madness (ecstasy, folly, melancholia) in order to see to what extent they have determined
Rabelais' text. The construction of madness is linked, in Rabelais'
time with the paradoxes of learning: can the ignorant be learned?
Are the learned really fools, or worse, madmen? Finally, the questions
about madness, learning, and education are contextualized by one
of the major theological disputes of the Reformation period: the
problem of free will. If human destiny is determined, what good
is free will? Can it exist? And if there is no free will, what
good is learning? Why pursue the educational reforms so dear to the hearts of the reformers? Because this course is interdisciplinary, we will compare Rabelais' text with selected works by four Renaissance
painters: Bosch, Titian, Brueghel, and Durer. How does narrative
unfold in visual space? What sorts of narratives or visions are
made possible by the invention of one-point perspective? What
is necessarily excluded by this space? What is the connection
between vision and madness? Finally, is vision free, or simply
assailed and dominated by the object of sight? Finally, we will
probe these works for evidence of a significant contradiction:
as both exponents and critiques of humanism, as simultaneously
promulgating and undermining the Renaissance myth of rebirth.
Texts: Rabelais, Gargantua and Pantagruel (five books);
Plato, The Symposium; Thomas de Cantimpre, The Life
of Christina Mirabilis; The Little Flowers of St. Francis.
(Sowers)

Comparative Literature

341. Latin American Literature. (4). (Excl).
Section 001 – Latin American Literature and Society. From the outside, especially from the perspective of the United States
or Europe, Latin America sometimes appears as picturesque or even
folkloric; it also appears as an homogeneous entity. Nevertheless, in spite of some commonalities of history and language, each part
has its own past as well as its own present, a particular social
context and a language that modulates and resonates differently.
It is possible to say that the homogenizing factor comes always
from the outside. The differences found among the many parts is
also the distance – beyond the geographical one – in language
and vision, between a writer of Caribbean Latin America and one
from the Southern Cone. Yet, writers in Latin America have expressed
considerable concern for the continent as a whole, recognizing
its mestizo characteristics not only in relation to race, but also in relation to influences and aspirations. They recognize that although not one of them may represent the whole, all of them contribute to the emergence of common language. To find that
common language and concern will be the focus of this class; we
will do that through some of the major voices of Latin America.
The list might include: Carlos Fuentes, Gabriel Garcia Marquez, Alejo Carpentier, Augusto Roa Bastos, Marta Traba and Elena Garro
and/or others. Course is taught entirely in English; however, a knowledge of Spanish is welcome. (Moya-Raggio)

360. The Existential Quest in the Modern Novel. Junior/senior
standing, or permission of instructor. (4). (Excl).

Existentialism combines the investigation of major issues in the history of Western philosophy with daily problems of intense
personal concern. In this course, existentialism will be viewed
as a literary as well as a philosophical movement united by a
number of recurrent and loosely related themes: (1) Theological: the disappearance of God; the condition of being "thrown"
into an indifferent and ultimately absurd universe; man's encounter
with nothingness beneath the floor of everyday reality revealed
when familiar objects and language drop away. (2) Psychological:
man's imperfection fragility, and loneliness; the feeling of anxiety
and despair over the emptiness of life and the terror of death;
arguments for and against suicide; human nature as fundamentally
ambiguous and hence not explicable in scientific though or in
any metaphysical system; the absence of a universally valid morality;
and human nature as undetermined and free. (3) Social: man's rebellion
against the inhumanity of social institutions that suffocate the
"authentic self"; the escape from individual responsibility
into the "untruth of the crowd." (4) Finally, man's
various attempts to transform nihilistic despair into a creative
affirmation of life. Philosophic texts by Pascal, Kierkegaard, Nietzsche, Buber, Jaspers, and Heidegger; fiction by Dostoevsky, Tolstoy, Camus, Sartre, Rilke, and Kafka. Two examinations and one term paper required. (F. Peters)

451/Russian 451. Survey of Russian Literature. A
knowledge of Russian is not required. (3). (HU).

Creative Writing

220. Narration. Permission of instructor.
(4). (Excl).

Suggested assignment: 1250 words of prose fiction every two
weeks. Rewriting is emphasized. The class meets as a group up
to two hours per week. Collections of short fiction by established
writers are read. Every student meets privately with the instructor
each week. (Hecht)

221. The Writing of Poetry. Permission
of instructor. (4). (Excl).

The amount of poetry each student is required to submit is
determined by the instructor. The class meets three hours per
week as a group. In addition, each student receives private criticism
from the instructor every week. Contemporary poetry is read and discussed in class for style. Students are organized into small
groups that meet weekly. (Mikolowski)

222. Writing for Children and Young Adults. (4).
(Excl).

Individualized instruction, group discussion and readings aim
at the development of original story ideas and the perfection
of narrative techniques relevant to the authorship of children's
books. Preliminary assignments – picture book, folklore-narrative, and media – prepare each student for a self-directed final project.
No prerequisites; however, a thorough reading background in children's
books – or the willingness to compensate for its lack – is presumed.
Please do not take this course expecting "lectures"
about children's books or child development. This is a writing
course emphasizing story-writing skills and aesthetics. (Balducci)

This course is designed for writers of longer fiction who can
benefit from instruction and peer feedback. Three 15-20 page short
stories or three 20-25 page segments of longer works are due at
evenly spaced intervals during the term. Everyone in the class
reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets
with the instructor each week for private discussion of work both
completed and in progress. Enrollment is limited to a maximum
of six students, usually students who have completed Narration
and/or Tutorials. (Hecht)

This is an advanced poetry writing workshop. Students must
be willing to read their poems in class and actively participate
in the critical evaluation of other students' work. A finished
manuscript of 25-30 poems is a course requirement. (Mikolowski)

Hums 325, 326, 425, 426 Creative Writing Tutorials.
Tutorials provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts
recognized with constructive criticism and academic credit. Reading
may or may not be assigned, depending upon the background needs
of the individual student. Tutorial students meet privately with the instructor each week. Permission of instructor is required.
This course satisfies the Junior-Senior Writing Requirement for
Creative Writing majors only. (Hecht/Mikolowski/Balducci)

Drama

280/English 245/Theatre 211. Introduction to Drama
and Theatre. No credit granted to those who have
completed or are enrolled in RC Hums. 281. (4). (HU).

This course will explore texts from the actor's perspective.
The first part of the term will be spent in dramaturgical research
in period and place and intensive script analysis of our chosen
play(s). The majority of the course will involve the rehearsal
for a workshop production of the text(s) under study. Students
will be required to do outside reading and at least one major
research project. They will also be required to devote the required
extra rehearsal hours to the project. (Mendeloff)

385. The Theatre of Bertolt Brecht. (4).
(HU).

The drama of Bertolt Brecht, represented by a selection of
his plays in English translation, is the subject of this course.
We aim to arrive at an informed understanding of the generally
used adjective "Brechtian." To do this we will become
intensely conversant with seven plays, less intensely so with
another eight, with all of which we may appreciate the variety
of Brecht's dramatic style. We will also read and discuss some
of his writing on the theory of Epic Theatre, on the "dialectics
in the theatre," and on his general idea of a theatre that
should represent the twentieth century world as alterable. In
addition to the fifteen plays, readings will include substantial
amounts of secondary material on Brecht's life and his European
background. Extensive scene-work in Brecht's plays will be complemented
by short writing and research assignments. There will be opportunities
to interact with a German language production of The Seven
Deadly Sins as well as the planning sessions for a major
Brecht production in the Spring. (Walsh)

484. Seminar in Drama Topics. Upperclass
standing, Hums. 280, and three 300 or 400 level drama courses, or the equivalent, or permission of instructor. (4). (Excl). May
be repeated for credit.
Section 001 – The New American Play Process. Developing a
new play working from the script-in-rewrite to a workshop staging
in class. Will involve the American Theatre and Drama Projects
Team approach – a process headed nationally by Professor Jones.
Class members will experience and apply the skills of director, playwright, designers, actors and dramaturgs. New York playwright
P.J. Gibson's new play Masks, Circles: Healing the Pain,
will be the focus of the class. Ms. Gibson will visit the University
during the working process and at the workshop staging that culminates the class. The objectives of the course are to explore the complex
process of Theatre and Drama which involves artistic collaboration
and a process of literary, cultural, historical, social psychological
and anthropological inquiry. In her play, Ms. Gibson centers her
drama on the conflicts of human pain and healing using the complexities
of American identity focused on five women from these cultural
groups: Asian America, African American, White American, Latino
and Native American. (B.J. Jones)

Music

250. Chamber Music. (1). (Excl). Offered
mandatory credit/no credit.
Instrumental: Chamber Orchestra and Small Ensembles. No audition
required. All students who are interested in participating in
instrumental ensembles may enroll for one or two hours of credit.
The second hour of credit is at the discretion of the instructor.
Every student must elect section 001 for one hour; those students
who will fulfill the requirements for two hours of credit MUST
also elect Section 002 (with an override from the instructor)
for the additional hour of credit. For one hour of credit students
must participate in two ensembles; for two credit hours, students
must participate in the large ensemble and two smaller ones. Responsibilities
include three to four hours of rehearsal time per week and participation
in one or more concerts per term, if appropriate. Course may be
used to fulfill the Residential College's Arts Practicum Requirement.
Ensembles have included: mixed ensembles of strings and winds;
brass quintet and intermediate recorder; string quartet; woodwind
quintet, and some other duos and trios, including piano and harpsichord.
(Barna)

251. Topics in Music. (4). (HU).
Section 001 – Music and Social Change. Is it possible for
music to effect social change? What is the role of music in social
change movements? Can music itself be a tool for change, or is
it a backdrop for action? This course will examine these questions
and hopefully raise many more as we explore the relationships
among music and social change, resistance, and liberation. We
will mainly study the Civil Rights/Black Power movement from around the 1960s, but will also bring in contemporary rap and possibly
Latin American Nueva Cancion music. In addition to getting a theoretical
and historical understanding of music and social change, groups
of two or three students will choose a local site to work in.
The purpose of the site visits will be to develop some sort of
collaborative musical creative project with the intention of a
final public performance. The instructor will help students find
a site and work individually with the small groups. Some ideas
for sites presently include: area prisons, local homeless action
groups, local tenant's rights groups, WCBN-FM, and Henry Ford
High School in Detroit. Another question we will explore is: Are these site visits social change? You do not have to be a musician
to be in this course; part of the creativity will involve designing
your site visit. This class will require considerable outside
time and preparation. We will all have to be creative in designing
site visits that work with our schedule; we'll also have to be
creative in getting cars and drivers. Class time may be flexible, depending on how site visits are working out. Grades will be determined
on the rigor of thinking that you display in a regular journal
and a final paper which will tie in your site visit experience
with the class. There may also be listening quizzes based on the
music we listen to in the course. Some of the books we will read
include: "Everybody Say Freedom!" by Pete Seeger and Bob Reiser; and "It's Not About a Salary...Rap, Race and Resistance in Los Angeles," by Brian Cross. There will also
be a course pack. We will listen to civil rights songs and revolutionary
Black poetry-music like Gil Scott-Heron and the Last Poets. Because the body of "political music" is so large, we will educate
each other by brining in our favorite examples of music and social
change. Visits from area musicians and student performances will
hopefully be aspects of the course. The idea is that we will learn
from each other and lead each other in discussion. Our practical
site experiences will frame our developing theories on music and social change. It is hoped that this class will be a challenging, exciting, frustrating, and fun experience. See you there! (Elsila)

253. Choral Ensemble. (1). (Excl). Offered
mandatory credit/no credit.
Section 001 – Women's Choral Ensemble. Group rehearses twice
weekly and prepares a thematic concert of music from the vast
Women's Chorus Repertoire. Vocal skills, sight singing, and basic
musicianship are stressed. No prerequisites, but a commitment
to the group and a dedication to musical growth within the term
are required. No audition.

Section 002 – Mixed Choral Ensemble. Four-part works
from a variety of musical styles are rehearsed and prepared for
performance in concert. Meets twice weekly. Vocal skills, sight
singing, musicianship and ensemble singing are stressed. No prerequisites, but a commitment to the group and musical growth within the term
are required. No audition.

254. The Human Voice as An Acoustical Instrument. (4).
(Excl).
Section 001 – Human Voice. Basic Technique for Singer and Actors, Including the Alexander Technique. This course is open to
any student who wants to develop the vocal instrument for speaking
and singing, to sing more comfortably, and to maintain a healthy
voice. The course is directed toward singers (with or without
previous vocal training), speech and acting students, and those
who want to find out if they can sing. Most voices are undeveloped
(or underdeveloped) and we can learn how to develop our vocal
equipment for whatever our own purpose. Because our voices are
housed within, we must consider the whole voice-body-mind as the
subject of our study. Ms. Heirich is a STAT and NASTAT-certified
teacher of the Alexander Technique, and this work will inform
all that we do in the course. The class meets together Monday
and Friday from 2-4 P.M. Your schedules should temporarily remain
flexible between 12-5 P.M. on Wednesdays for scheduling of small
group sessions; this scheduling will be done during the first
class meeting. There will be one text, some optional readings, daily preparations, and an individual term project required. The
required reading will be "Miracles Usually Can't be Learned,"
a basic vocal text by Jane Heirich, available as a course pack
from Kelly's Kopies. (J. Heirich)

Interdivisional (Division
867)

350. Special Topics. (1). (Excl). Offered
mandatory credit/no credit. May be repeated for a total of 6 credits.
Section 001 – The Philosophy of Democracy. Using classical
and modern texts, and some landmark Supreme Court cases, we will
examine in this course the fundamental principles of democratic
process. Our aim will be a moral critique of democracy – not its
mechanics, but the arguments and counter arguments concerning
its justifiability. This one credit hour mini-course will meet
on Tuesday and Thursday for five weeks beginning Tuesday, September
19 and ending Thursday, October 19. (C. Cohen)

450. Science and Social Responsibility. (4).
(Excl).
Section 001 – Ecology, Environment and Social Responsibility.
The course will spin around the concepts of environmental conservation
and social development, their interactions, constraints, necessities, advocacies, and the analysis of their history, politics, and sociology.
An introduction on biogeography, natural and agricultural ecosystems
will be required before addressing issues with a more political
content. The focus will be on the interaction between ecological
and socio-political aspects and the effects that the South-North
unbalance has on the environment for the Third World nations, mainly in the American Tropics. The course aims to analyze the
positions that the different social and political groups have
taken toward topics and ideas regarding the science of ecology, the environment, preservation, agriculture, conservationist politics
or developmentalism programs. The course is intended to be taught
in Spanish for the most part, although the readings for discussion, as well as guest lectures, will be in English and Spanish. Discussion
will mostly take place in Spanish, but bilingual discussions will
be encouraged when necessary. The Spanish-language component of the course will try to fit the average proficiency of the students
enrolled. (de la Cerda)

This course introduces students to the field of immunology
and to some of the societal issues raised by contemporary scientific
and biomedical research. The course focuses first on study of the biological basis of the immune response. An understanding
of biological concepts, in turn, serves to prepare students to
examine societal, ethical, and policy issues that relate to this
area of contemporary scientific research. The course is intended
for students who want to gain a basic understanding of the biology
of the immune system, and who also want to examine the larger
context within which scientific knowledge is gained and used.
Topic areas include: autoimmunity, tissue and organ transplantation, allergy, AIDS, cancer therapy, psychoneuroimmunology, the media
presentation of science, and the impact of funding and policy
decisions on the direction and results of scientific research.
Readings include an introductory immunology text, research articles
and reviews, and articles and books about the scientific enterprise.
Evaluation/grading will be based on two examinations, a short
paper, a research paper/project, and class participation. Prerequisite:
one college-level natural science course (preferably biology)
or permission of instructor. (Sloat)

270. New Biotechnology: Scientific, Social and Historical
Perspectives. High school biology or permission of
instructor. (4). (N.Excl). (BS).

This course examines the development of genetic engineering
and other biogenetic technologies that provide powerful methods
for intervening in the genetic constitution of living things.
It asks some of the questions that the scientific community asked
itself when these techniques were invented in several California
laboratories in the early 1970's: What principles should guide
assessment of a new form of technology in the face of varying
technical opinion about its implications? Should scientific research
be controlled? What should be the roles of technical experts and the wider public in policy making? Where should decisions be made?
And who should decide such matters? How these issues have been
addressed are central themes of the course. The principal goal
of the course is to develop a broad historical perspective in the emergence and development of a new field of scientific achievement, the contexts in which the field is evolving, the terms of development, and the social and ethical issues associated with the development
and application. This term, group projects on the social and ethical
issues associated with emerging or projected applications of biotechnology
- for example, the patenting of life forms, military use, the
release of genetically engineered organisms into the environment, agricultural applications, genetic engineering in humans, the
human genome project – are planned. Readings: Dorothy Nelkin, Dangerous Diagnostics (1990); Susan Wright (ed.), Preventing
a Biological Arms Race (MIT Press, 1990); David Suzuki, Genetics
(Harvard University Press, 1989). (Wright)

Note to Seniors concentrators in the Social Science Program:
Under the requirements for the Social Science concentration, all
seniors must write a graduating essay for which they will receive
two credits. They MUST, therefore, register for two credit under
RC Core 410 Senior Project during Winter Term. Students will then
receive regular guidance and feedback from the faculty. To register, you will need an override from Charlie Bright and a letter of
permission from the RC Counseling Office.

202. The Twentieth Century: A Global View. (4).
(SS).

The aim of this course, designed for sophomores, is to help
students locate themselves in the world they inhabit. We will
attempt to "map" the world of the late 20th century, developing an analytically precise and historically grounded description
of the contemporary world so that it can be seen as the product
both of continuous historical processes and of specific historically
unique conjunctures. This will involve an investigation on three
tiers. We will study the process of global integration, the circuits
of finance and exchange, of information-flow and migration, that
selectively bind the world together; we will examine how the global
flow of material goods and ideas percolate into and get appropriated
to local contexts and needs, producing contests over meaning, identity and everyday practice; and we will explore how the interactions
of global and local worlds produce crisis and realignment in the
"middle ground" of states, national policies, and national
identities. The central problem is to understand how processes
of global integration create disjunctures and fields of contestation that, in turn, make the proliferation of difference a key characteristic
of an integrating world. There are no prerequisites for the class;
students will be asked to read five books and a number of articles
and to write two papers. (Bright)

265. Problems of Socialization and Resocialization
in Contemporary Society. (4). (Excl).
Section 001 – Examining Racial Stigma. One purpose of this
course would be to examine the process of racial stigmatization
in an effort to come to understand why it exists. We would also
investigate the implications of its existence for the stigmatizer
as well as the stigmatized. Stigmatization is a complicated process
in that it need not operate continuously and yet it presents a
chronic problem to those that have to deal with a stigmatized
attribute. Therefore, we will spend a fair amount of time looking
at the circumstances under which stigmatization is invoked with
an eye to whether or not it is possible to identify a pattern
of situations within which stigmatization is likely to occur.
This course would not be complete unless we spent time examining the types of responses that marginalized/stigmatized groups offer
in relation to their sometimes uncertain status in a particular
social context. Finally, we will need to pay special attention
to the interactional nature of stigmatization. In this era of
striving for greater mutual appreciation among diverse groups, we need to investigate what causes some groups to be targeted
in negative ways by others, and the implications of this type
of activity on the social context as a whole. Hopefully, this
course would provide a step toward grappling with some components
of this complex problem. Several commentary papers and a final
product will be expected from the seminar participants. Readings
for the course may be chosen from the following: (1) Out There:
Marginalization and Contemporary Cultures, Russel Ferguson, et.al. (editors); (2) Social Stigma, dward Dones, et.al.
(editor); (3) Stigma, Erving Goffman; (4) Anti-Semitic
and Jew, Jean-Paul Sartre. Some selections will be available
in a course pack. (Hull)

360. Social Science Junior Seminar. Upperclass
standing. (4). (Excl). May be repeated for credit.
Section 001 – Culture as Environment: Worldviews and Cultural
Agendas. This junior research seminar provides you the opportunity
to learn about the struggles of Native communities on Turtle Island for cultural survival during the long onslaught of European and Euroamerican conquest and settlement in the Americas. We will
be investigating various groups; origin stories, world views, cultural agendas, and land struggles. Each of us will focus our
individual research project by giving attention to a central individually
chosen theme, such as sustainability of agriculture, gender relations, expression of spirituality, peace and war, education of children, language and communication: you name it. In this research seminar
we will learn a comparative geographical research method, that
of ethnically-sensitive human systems analysis framed by worldview
comparison. We will also practice a writing style which includes
writing about the data found, the research process, and one's
personal engagement with the research. You will be responsible
for writing two research papers about a Native community of your
own choosing as well as for participating effectively in class
sessions. The course will be taught using collaborative pedagogical
methods. (Larimore)

Section 003 – The History of Radicalism and Protest Movements
in the 20th Century United States. Through secondary readings, primary documents, and films, this course will explore the history
of American radicalism and the key protest movements that existed
in the United States from 1900 up to the present day. We will
look at the ideology, actions, and impact of such organizations
as the early Socialist Party of Eugene Debs, the CPUSA, the early
feminists and the later women's liberation movement, the Civil
Rights Movement, the New Left, the Black Power Movement, Native
American Activists, Chicano Activists, trade union dissidents, etc. - all in their larger historical contexts. We will
analyze the relationship between American radical dissent and the U.S. government; we will ask what the impact of protestmovements
has been on the evolution of American politics, culture, and institutions;
and we will examine what the internal strengths and weaknesses
of these various movements were in terms of strategy, ideology, and the politics of race and gender. For a term project, students
will explore one movement or strain of radical thought in depth.
(H. Thompson)

Section 005 – Caribbean Society and Culture: Race, Class
and Gender Perspectives. In this seminar course, we will
look at (1) how Caribbean society is structured by race/color, class and gender across several domains of social life (spanning the so-called "private" and "public" spheres), in keeping with a historical legacy of slavery and colonialism;
(2) how women in particular (but men too) emerge from and react
to/upon this structure as both victims and historical agents engaged
in the dynamic processes of re-inventing themselves and transforming
overarching Caribbean institutions and cultures; (3) how relations
of race/color, class and gender play themselves out in selected
areas of expressive culture, within forms which are uniquely "Caribbean."
The primary focus will be on Jamaica and the rest of the English-speaking
Caribbean and on Afro-Caribbean women and men, but important comparative
references will be made throughout the course to other language
and ethnic groups in the region. Students will be expected to
share responsibility for discussions and write several brief discussion/review
papers as well as complete a research paper or project constituted
around a core of primary research data gathered in Jamaica. Required
reading material will include a course pack and several literary
texts. (Green)